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LON DUBINSKY LIZ MULLAN
In August 1973, I first heard about the idea of setting up a filmmaker’s Co-operative in the Atlantic Provinces. People in this area who came under the broad category of “those interested in film’’ were asked to write a letter in support of this proposal in order that its originators, Chuck Lapp, Don Duchene and Stefan Wodoslawsky would be able to make a stronger case to the Canada Council.
At the time, I was desperately trying to finish a master’s
Interview with Lionel Simmons and John Brett
How would you characterize the Co-op’s atmosphere?
John: There isn’t active camaraderie in the social sense. Fora while, we all used to drink together but now I talk to whoever happens to be working here when I am. Everyone is busy working on individual projects. We do help each other — we work on each other’s crews, we see each other’s rushes and we exchange ideas with one another casually.
Is membership restricted?
Lionel: All you have to do is have a member recommend you. It costs $50 a year — that’s to cover costs. There are about 25 members just now, so there’s no restriction on numbers We’re still new.
How is it decided who gets the money to make films?
John: We have a script selection committee. If you have a proposal, you submit an outline and a budget.
Lionel: Presentations have ranged from one written line to visual or verbal proposals. The committee doesn’t make a “‘we like it or we don’t like it’? decision — its most important criterion is probably “will it get done and who can deliver?”
26 Cinema Canada
Peter Elliot paints over his number on the wall of his cell as Lionel Simmons sets up his shot for
degree (in film study no less) and I thought the creation of a film Co-op almost impossible. I had just returned to Nova Scotia and I felt that our famous down-east brand of apathy was sufficient to prevent the Co-op’s evolution. I didn’t write the letter.
One year later, I’m a Co-op member, and Liz and I are doing this interview with Lionel Simmons and John Brett, two members, and Chuck Lapp, the Co-op’s co-ordinator.
Lon Dubinsky
Our main concern at the Co-op this year is to get things done, which can be difficult because we’ve got to learn and produce at the same time. If we don’t produce we’ll soon cease to exist.
Should the Co-op be doing more than just making films?
John: Ideally, it would be great to produce, educate, and show films. In the case of this Co-op, it might prove a bad decision practically. Our original credo is to make films. There are enough problems in producing films without diversifying. Perhaps later on, when we are more skilled ourselves, we might think about doing some of these other things.
Are some of these other functions filled by the National Film Board — have they been of assistance to you?
Lionel: Definitely, they’re a help. Earlier this year they gave us $5,000 worth of film stock.
John: The Board has done a lot in terms of screenings. This past summer they had someone traveling around showing films in small, rural communities. The Film Board Office here is new and still rather informal. They’ve been a lot of help to me personally — they’ve given me advice, loaned me equipment and employed me for part-time work.